Manon Philipon (Madame Roland) was born in 1754. Her father was an engraver in comfortable circumstances. Her earliest enthusiasm was for the Bible and Lives of the Saints, and she had almost a mania for reading books of any kind. In the corner of her father's workshop she would read Plutarch for hours, dream of the past glories of antiquity, and exclaim, weeping, "Why was I not born a Greek?" She desired to emulate the brave men of old. Books and flowers aroused her to dreams of enthusiasm, romantic sentiment, and lofty aspiration. Finding that the French society afforded no opportunity for heroic living, in her visionary fervor she fell back upon a life of religious mysticism, and Xavier, Loyola, St. Elizabeth, and St. Theresa became her new idols. She longed to follow even to the stake those devout men and women who had borne obloquy, poverty, hunger, thirst, wretchedness, and the agony of a martyr's death for the sake of Jesus. Her capacities for self-sacrifice became perhaps her leading trait, always longing after a grand life like George Eliot's Dorothea Brooke. She was allowed at the age of eleven to enter a convent, where, shunning her companions, she courted solitude apart, under the trees, reading and thinking. Artificial as the atmosphere was here, it no doubt inspired her life with permanent tenderness of feeling and loftiness of purpose, and gave a mystic quality to her imagination. Later she experienced to the full revulsion of thought and experience which comes when doubt reacts upon youthful credulity. It was the age of the encyclopedia, and now she came to doubt her creed and even God and the soul, but clung to the Gospels as the best possible code of morals, and later realized that while her intellect had wandered her heart had remained constant. At seventeen she was, if not the moat beautiful, perhaps the noblest woman in all France, and here the curtain moat drop upon her girlhood. All her traits were, of course, set off by the great life she lived and the yet greater death she died. Gifted people seem to conserve their youth and to be all the more children, and perhaps especially all the more intensely adolescents, because of their gifts, and it is certainly one of the marks of genius that the plasticity and spontaneity of adolescence persists into maturity. Sometimes even its passions, reveries, and hoydenish freaks continue. In her "Histoire de Ma Vie," it is plain that George Sand inherited at this age an unusual dower of gifts. She composed many and interminable stories, carried on day after day, so that her confidants tried to tease her by asking if the prince had got out of the forest yet, etc. She personated an echo and conversed with it. Her day-dreams and plays were so intense that she often came back from the world of imagination to reality with a shock. She spun a weird zoological romance out of a rustic legend of _la grande bête_.